Darling Lili

Julie and Blake deliver a real bomb {no pun intended}of a World War 1 musical with this sloppily made mega budget mess. Julie's voice is always a joy, but the music here is of the "in one ear, out the other" variety. Hudson shows all the romantic magnetism of a buttered scone and his scenes with Julie hold about as much spark as my 1987 Yugo. The comic relief is painfully unfunny, the flying scenes ho hum {with most of the aircraft and even one of the stars, Jeremy Kemp, rehashed from "The Blue Max"}and the whole experience just makes me glad that I saw this on free TV. Its a long way to Tipperary alright, this movie is closer to Verdun....

Recognized with three Oscar nominations Darling Lili was a big flop at the time and helped seal the fate of big budget musicals and Julie Andrews's career in them. They were getting just too expensive to make with all the talent that used to be under contract to a studio now charging full market value for services. Whatever else Darling Lili is it's a full market value musical film.

Set in the era of World War I, Darling Lili's best asset is its music. Two of the three nominations were in the music field for best overall score and to Henry Mancini and Johnny Mercer for the song Whistling In The Dark. That one is an incredibly beautiful number that Julie Andrews sings perfectly. The original songs are integrated so well into the film that they fit perfectly in the era. More traditional World War I era songs are also used, no doubt all in the public domain by 1970.

Would that the score was attached to a better story. Wholesome Julie Andrews is a popular entertainer of the era, singing for the troops on the western front. She also doubles as a German spy. Her assignment which she accepts with gusto is to get involved with American air ace Rock Hudson and learn some military secrets. I think you can guess the rest.

Darling Lili lurches back and forth from cloak and dagger espionage to slapstick comedy in the extreme and it's an uncomfortable ride in the process. One of the characters is Lance Percival playing a drunken pilot in the Royal Flying Corps. I mean really, this guy should never have been in the RFC, the comedy which is good is severely out of place.

Film buffs will recognize some similarity to The Firefly and the British classic Dark Journey so if you know those films you know how this one ends. Fans of Rock Hudson and of Julie Andrews will like this and her singing is divine. The rest of Darling Lili is on a lesser plain.

Except for "Star!", (Which another reviewer understandably considers a "companion piece" to this film), Julie Andrews never starred in a film that was more ideally structured specifically for her many talents than "Darling Lilli." She gets to sing, act, look lovely, even let her hair down and do a striptease in her continuing efforts to get away from her Mary Poppins/Maria Von Trapp image, and much more. Lilli is certainly one of the most interesting characters she ever played; you're never quite sure whether you're supposed to root for or despise this half-English, half-German who is a London music-hall entertainer but also acting as a spy for the Fatherland in World War I and is sent to, um, extract military secrets from American Major William Larabee but falls in love with him and tries to clear both their names for the suspicious French government.

And like "Star!", "Darling Lilli" was released at the wrong time. It had enough "performance numbers" to count as a movie musical, even though it also had elements of drama, comedy, and spy intrigue, and both movie musicals and Julie Andrews were not what critics and audiences were anxious to see in the late 1960s and early 70s, when both films were released. So both bombed at the box office. "Darling Lilli" in particular, judging by the "director's cut" that director Blake Edwards prepared several years later, did not really deserve this fate. While flawed, it is still highly entertaining, and Miss Andrews is utterly radiant, whether acting, stripping, or singing some vintage WW I tunes or some lovely songs written for the film by Henry Mancini and Johnny Mercer. The film should be seen if for no other reason than for the hauntingly beautiful "Whistling Away the Dark" and Julie's tender, achingly vulnerable performance of it.

But as I said, the film itself is not too great. The description of Lilli's character alone is confusing enough, and often it's hard to figure out what is going on. (Perhaps some footage that could've cleared up this confusion is in the original version of the film?) In addition to the rather muddled string of events, Rock Hudson is pretty stiff as Larabee, and the various German, French, and English accents of the supporting characters come and go. The authentic WW I aircraft is cool, but the air sequences, appaarently the ones that took the longest time out of the film's very long shooting period, are the least interesting in the film. And another reviewer also noted the film's uneasy yo-yoing between genres: the "director's cut" is probably the most serious film Edwards (Who happened to have just married Miss Andrews before they started filming this) ever directed, but he can't resist putting in some of his trademark cheap laughs, although several of them are admittenly funny. And all in all, the film is very entertaining, whether as a drama, comedy, musical, or spy thriller, and whenever Julie Andrews is onscreen, all the film's faults seem like quibbles. Obviously, Mr. Edwards is in love with his wife; can you blame him?

I suppose I like this film as well as any I know; it is not perfect, but under the title "The Americanization of Lily" this charming and memorable semi-musical satire might I suggest have been appreciated more, and still loved by those who recognized its special Blake Edwards'-produced spirit of gentleness, clever humor and solid narrative. The improbably but delightful story-line follows Lili Smith, a fringe-type spy for the Germans in a much simpler and less black-and-white war; Lili Schmidt passing as Smith is helping her Uncle who is patriotic too, for Germany but neither cruel nor political, merely opportunistic. Lili's target is William Larrabee, a charismatic U.S. squadron leader who can supply her valuable information. The plot thickens comes when Lili falls in love with Larrabee, has her eyes opened to the consequences of her playing spy, and sees the effects of combat on wounded men at a hospital and realizes what it might mean to his men whom she has met and likes. She gets jealous of a rival for Larrabee's affections, then realizes she can no longer do what she has been doing and gives up the spy business. The logical end of the film comes when after the terrible WWI has ended, as she sings the theme song of the film, "Wishing" in a darkened theater, one by one the members of Larrabee's squadron appear, including her lover himself, indicating they have forgiven her and their former opponents; and even Uncle Kurt enthusiastically joins in the singing of "It's a Long To Tipperraree", to indicate all is well with the world again. This is an audacious and sometime brilliant story idea, written by director Blake Edwards and William Peter Blatty of "John Goldfarb" fame; and it is a delightful narrative. Larrabee's squadron, including an inebriate who keeps crashing and other lovable types populate this lively film; and the feel of this stylish and glowing film is almost epic, both in its scope and realization. Credit must go to Jack Bear and Donald Brooks for their costume creations, Reg Allen and Jack Stevens for sets, Fernando Carrere for another beautiful production design, Henry Mancini for his sensitive and appropriate musical score, and to Russell Harlan for his shining cinematography. In the beautiful footage, the principal actors are Julie Andrews as Lili, Rock Hudson as Larrabee, Keremy Kemp outstanding as Lili's Uncle Kurt, Michael Witney, Lance Percival as the inebriate pilot, gorgeous Gloria Paul as Lili's stripteasing rival, and many other fine actors in smaller parts. It is hard to say enough nice things about the pace, or the cleverness of the just-this-side-of broad comedy; this element is introduced by Edwards to leaven the horrors of actual warfare, to example the almost comic-opera approach with which men made war back in a more innocent-minded era of human civilization.. This comedy also helps prepare the way for Lili's conversion from uncritical acceptance of a duty to the German state to acceptance of the reality of what she is doing and potentially what she may be causing. This is a rare "sense-of-life" film about Lili's "Americanization", her assertion of herself in the real world and then among others before tragedy can happen. It is haunting, I find, and beautiful in many ways. I consider it to be Blake Edwards'masterpiece of directing; and under the title "The Americanization of Lili" I believe with hardly any changes it might have been recognized as the polished sapphire of a film it is by every standard I know.

It was 1970. Julie Andrews had hit her highs onscreen, and her star was starting to fade, at least in the public's eye. "Lili" represented another opportunity for Julie to change her image, coming right after the megamusical "STAR!" which didn't deserve the drubbing *it* received either.

Audiences didn't seem to care for this WWI musical drama. In fact, they were staying away in droves from ANY musical--drama or not.

The shame of it all is that this film, with its many classic moments, was stigmatized by the press who were gunning for Our Fair Julie and her new beau, writer/director/producer Blake Edwards.

But "Lili" really *is* worth seeking out. Julie sings beautifully, especially the haunting "Whistling Away the Dark," a lovely Henri Mancini tune that opens and closes the film. Her performance is nuanced and quite affecting--just watch her as a fat tear silently slides down her cheek after a tumultuous argument with Major Larabee.

Edwards has staged some stunning flight sequences, but the suffer somewhat, in 1990s sensibilities, from the blue-screen process shots needed to get Rock "into" midair. Edwards also can't seem to help himself from sliding into formulaic comedy bits (he apparently thinks a bumbling Frenchman with an umbrella on a roof in a rainstorm is hilarious--it shows up in film after film of his).

The reason to watch "Lili" is for its interesting spin on the Mata Hari legend and the performance of Miss Andrews, who certainly didn't deserve the brickbats that came her way following its release.